ANIMATION WORLD MAGAZINE - ISSUE 4.8 - NOVEMBER 1999

The CNC: A Complete Support System
(conitnued from page 1)

The Little Screen
For series, grants for television productions of all sorts are managed by the Support Accounts for the Audiovisual Industry (COSIP). Created in 1986, it is fed by a tax imposed on subscriptions and advertising income from private broadcast channels, and from the tax paid by every television owner which supports the public channels. COSIP's capital funds are divided in three ways: automatic financial aid, advances on automatic aid, and selective financial aid. Automatic aid concerns producers who already have more than five hours of their productions distributed on French television. The amount of funding they receive depends on the length of their current production and the cost per minute of the project. The financial aid may be used for completing their current project, or for preparing a new project, which must be done within two years.

Advances on automatic financial aid apply to producers who do not already benefit from grants -- during a first production, for example. Such advances must be repaid up to 50%.

Juried grants for a production less than five hours, a television special or a short series are given by a committee of ten members selected from professionals, television representatives and concerned authorities. Such grants are consequently reserved for new enterprises or those with a small volume of production. But at the same time, the production cannot be controlled by a company which has already received a grant, or a television station.

In addition, the internal commission of CNC also grants funds to pilots, in amounts ranging from $10,000 to $30,000.

In order to encourage co-productions, the French government, which made an audiovisual co-production agreement with Canada in 1983, added an animation clause to it in 1985. This supplemental mini-treaty establishes $600,000 each year of supplementary grants in the form of advances that must be paid back. In 1998, the sum was divided between 23 projects. The Funding Service for Program Industries also keeps close tabs on changing needs in education. They collaborate with social and institutional organizations, colleges and specialized educational centers, as well as with corporations who must offer funding for continuing education and training to their employees. Animation, compositing, layout and storyboarding are the four areas with the highest priority needs. The amount they invest annually is often in the neighborhood of $350,000.

F.A.E.L.L., a Duboi series created by Lyonel Kouro and subsidized by the CNC. © Kouro-Duboi-Canal+. Courtesy of Canal+.

Digital Investments
Multimedia and video works also have their own specific program, which supports producers, editors, technicians and employees so that they can focus on adapting to the evolving technology of images and sound, and their support system. Experimental productions, and research and development projects under this heading receive very special attention. For experimental productions, a juried subsidy is awarded to innovative techniques developed by companies with the intention of producing film or audio-visual works. These subsidies are based solely on the expenses relating to the use and development of new techniques, and are limited to 20% of the overall production costs. Monkey Castle, a feature by Jean-Francois Laguionie, the Heavy Metal Productions and Duboi company's series F.A.E.L. and Rolie Polie Olie, as well as the pilot for Little Big Chief, produced by Magic World Mystery, have been the most recent recipients of this funding. In the area of research, a call for projects was recently launched, under the name PRIAMM (Project for Research and Innovation in the Audiovisual and Multimedia). Based on joint initiatives from the CNC and the Secretary of State for Industry, it brings together the business world with that of laboratories and research centers. This new procedure is principally centered on tools and production processes. An advisory committee composed of professionals, researchers and administrators is responsible for determining which areas of research are most pressing, while a committee composed exclusively of government representatives (for reasons of confidentiality) must judge the projects.

Rolie Polie Olie, another Duboi series subsidized by the CNC. © Nelvana Communications, In Trust. Courtesy of Disney.

Animation and computer generated imagery occupy a major place in these deliberations, with certain specific directions underlined, such as the integration of 2D and 3D, tools for management of production, tools for assisting with pre-production, motion capture, modeling, simulation of bodies, rendering, and the synchronization of voices.

The Importance of Distribution
To complement all of these different activities, the CNC remains very attentive to the distribution of films. First of all, distributors have different options for financial aid. One is given to the distribution company to support the release of a series of films in the form of an advance, which can be repaid later, for a minimum of four films a year, and another for basic expenses, a subsidy. Yet another is given for individual films, in the form of a loan for the cost of promotion and publishing, or the costs of making film prints. Monkey Castle and Kirikou and the Sorceress, the two most recent French feature-length animations, received benefits from several of these sources. There is also a whole range of special incentives for non-mainstream films which have historical importance, as well as for programs intended for children. Other provisions also cover projects that are distributed on video, as well as those that contribute to the export of films through the venues of trade fairs or international festivals. In these areas, the CNC is partnering with numerous other organizations such as Unifrance Films, TVFI, The French Association of Animated Film and the Annecy Festival.

Through the combined efforts of these various offices, some $40,000,000 a year is devoted to the entire range of French animation. This contribution is indispensable, for without it, French Animation would never be able to show its qualities and its dynamism on the international level.

For further information, please contact:
AudioVisual Manager:
Support Services for Program Industries
Animation Services: 33-01-44-34-34-20
Film Manager:
Financial Aid Services: 33-01-44-34-38-08

Translated from French by Dr. William Moritz.

Originally a screenwriter, Valerie Rivoallon has worked in journalism since 1988. On the editorial staff of BREF, a magazine devoted to the short film, she has specialized in animation since 1993. She has also organized programs for several festivals, and works on the radio. Her monthly animation program is called Bulles de rêve.

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Note: Readers may contact any Animation World Magazine contributor by sending an e-mail to editor@awn.com.


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